Monday, July 14, 2008

THE name "hemp" as applied to the fiber of Musa textilis is a misnomer. The chief cordage fiber of the world was formerly that obtained from the hemp plant Cannabis sativa which grows in Europe, the United States, and other temperate regions. Many other fibers have from time to time taken the place of hemp in rope making and have in a general way also been classed as "hemp." Often they have the name of their place of origin prefixed in order to distinguish them from other similar fibers. Such are Mauritius hemp, New Zealand hemp, Sisal hemp, and Manila hemp. The term "hemp" as applied to abaca fiber is not only a misnomer but it is an unfortunate one as far as the foreign viewpoint of our industrial articles is concerned. To those persons to whom the word "hemp" may convey some meaning it brings to mind a coarse gray material of no particular beauty, the chief quality of which is its strength. It will therefore be unfortunate if, in the markets of the world, the beautiful abaca hand bags, the delicate slippers, the fine laces, and such articles made from the fiber of Musa textilis are to be advertised and sold under the name "hemp" or "Manila hemp." There is much in a trade name. The word "hemp" has a definite meaning in the world at large and conjures up no impression of beauty and delicacy. The word "abaca" is not known in foreign markets but it is an unusual and catchy word, one for which many a manufacturer would pay a considerable sum. The title of this article has therefore been limited to "abaca" with the hope that the word will be employed by all when referring to articles made from fiber of Musa textilis.

Saturday, July 5, 2008

CERTAIN scientists have advanced the suggestion that a matriarchal form of society formerly existed in the Philippines. The strongest argument in favor of this contention seems to be the Filipina woman's superiority over the man in the financial affairs of the family. The average male American thinks his womenfolk are well treated if he makes them a fixed allowance and pays on his own account the monthly bills for rent, groceries, heat, light, water, etc. Occasionally the lady of the house will have a checking account and settle monthly the ordinary household expenses, but the number and variety of jokes one reads in the funny papers, illustrating woman's inability to keep a record of her income and outlay, illustrate the man's opinion of woman's efficiency in financial matters. In the average Filipino family, however, the woman is supreme in money matters. If the man of the house draws a salary, he is expected to turn it over to his spouse intact or nearly so on the evening of each payday.

CAPITAN BALTAZAR was fond of repeating the story of the old Spaniard who was crossing a deep ravine on a rotten log. THE SPANIARD AND GOD AND THE DEVIL The Spaniard, according to the tale, was half way across before he realized how precarious was his support. He hesitated. There was no room to turn around and go back, and he reasoned correctly that to proceed would be no more dangerous than to retrace his steps. He thought of death and from thinking of death, although he was not religiously inclined, he recalled his Maker. Instinctively he voiced his thoughts, "El Dios es bueno" (God is good), and stepping carefully, holding his breath, he advanced toward the other side. Another thought struck him. Perhaps the devil would resent his calling on the Lord, and, with a view toward forestalling any act of revenge from the arch fiend he exhaled, "El Demonio no es malo" (The devil is not bad).

Thursday, July 3, 2008

This day, June 5, in the year 1898, historical accounts tell of General Emilio Aguinaldo being visited by a young pianist and composer, a Caviteno by the name of Julian Felipe. He brought with him a letter written by General Mariano Trias, introducing him as a good musician and composer. Felipe was then asked to play a musical composition, Hymno de Balintawak, which was composed by a Filipino musician in Hongkong where Aguinaldo had been in exile. General Aguinaldo was then looking for a composition that embodies the noble ideals of the Filipino, something that would inspire the people to fight against foreign invaders. He was not quite satisfied with the composition although it sounded good. The next day, Aguinaldo told Felipe, "It is not what I'm looking for. I want something more stirring and majestic". This was a week before the scheduled proclamation of the Philippine independence in Kawit. Felipe labored on the new composition during the next six days and nights. On the eve of the proclamation, Felipe played his composition in the presence of Aguinaldo and two other revolutionary generals. They were aptly impressed and approved it as the Filipino Republic's national anthem, calling it "Marcha Nacional-Magdalo".

As historical books narrated it, when General Aguinaldo proclaimed the country's independence on June 12, 1898, the "soul-inspiring masterpiece without lyrics" was played by the music band of San Francisco de Malabon (now General Trias, Cavite), while the Filipino flag (made in Hongkong, red, white and blue with the sun shining through) was being hoisted outside the central window of the Aguinaldo ancestral home which still stands now in Kawit, Cavite. Being a Marcha, no one sang it, because it had no wordings then.

Julian Felipe drew inspiration from his country's sufferings. He expressed his love for his country with his music. From his pen flowed many beautiful musical pieces, such as Amoria Danza, Cintas y Flores Rigodones, Matete al Santissimo, Philippines, My Philippines. He composed Un Recuerdo which he dedicated to the Thirteen Martyrs of Cavite, with whom he was almost killed. His Marcha Filipina-Magdalo, became the national anthem of the Philippines, his legacy to his country.

Six months after the proclamation of Philippine Independence in Kawit, in December 1898, the Philippines was ceded by Spain to the United States of America in the Treaty of Paris. The Filipinos found themselves under the rule of the Americans. In February of 1899, the Filipino-American War erupted. The revolution and the fightings moved a 23-year old poet-soldier of the revolution, Jose Palma, to compose a poem entitled "Filipinas". This was first published during the first anniversary of the Declaration of Independence published in La Independencia, the Filipino Republic's organ on September 3, 1899 in Bautista, Pangasinan. The lyrics perfectly matched the Philippine National Anthem.

Palma's original Spanish lyrics underwent several English and Tagalog translations. In 1918, Senator Camilo Osias translated "Filipinas" into English. In 1938, the National Assembly enacted a law confirming the Philippine National Anthem that will be coterminous with the life of the country. In 1943, the poets Julian Cruz Balmaceda and Ildefonso Santos translated it into Tagalog. In 1956, a new version penned by the Surian ng Wikang Pambansa (Institute of National Language) was adopted. Entitled "Lupang Hinirang," it was declared by President Ramon Magsaysay on May 26, 1956, as the official Tagalog version of the Philippine National Anthem.